Issue

4.15 / Commencement

May 7 2013

Introduction

May 7, 2013. In her review of the symposium “Painting Expanded,” Leigh Markopoulos describes participant Tom LaDuke’s practice in a manner that resonates with both reviews of Christian Marclay’s The Clock included in this issue. She notes “In situating the development of his art directly alongside his life experiences, and in expressing doubt and desperation, LaDuke placed painting firmly at the center of a sentient artistic practice.” We can't divorce art from life, and the time taken up by making and consuming the former is always imbricated with how we take stock of the latter. This is something The Clock literalizes in an epic, dramatic fashion befitting its equally dramatic source medium: cinema. “The synchronicity of cinematic and real time unfolding…grounds us in what the time actually is along with how much time has passed,” observes Patricia Maloney in her review of the piece. Cognizance of how much time has elapsed and how little may be left is also acutely apparent in Richard Misrach’s images of the Mississippi River's most environmentally impoverished stretch. Lea Feinstein, reflecting on the collection, expresses hope that these visual indictments are spurs to action, effecting change before it’s too late. Enjoy—MS

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